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Reflecting on Gerhard Richter
Gerhard Richter has long been regarded as one of the greatest artists of our time. Working in a wide range of styles he has created both abstract and realistic paintings, photographs, overpainted photographs and glass sculptures. This film gives us an insight into his works and thinking, as presented by one of Belgium's most innovative galleries for contemporary art.
Curator Martin Germann invites us to contemplate how Richter has responded to both material and social change across the decades. With works ranging from the 1960s to new paintings never previously shown, the 2017/2018 About Painting exhibition at S.M.A.K. offered a window to reflect.
Structured around a spine of glass sculptures, we can see the interplay between figuration and abstraction, illusion and reality as new works echo the themes of old. Germann highlights how an awareness of an artist's process can inform how we view their product. With the additional presence of the viewer reflected in glass and mirrors we see that art might never capture a single reality. From this understanding we can appreciate the true richness of Richter's work.
Time Period:
20th century
Martin Germann is Senior Curator at S.M.A.K. which is the Municipal Museum of Contemporary Art in Ghent, Belgium. He has organised several solo and group exhibitions for S.M.A.K. as well as presenting an ongoing series of works from the collection.
Germann has also worked as curator at Kestner Gesellschaft Hanover and was responsible for the programme Gagosian Gallery, Berlin for the 4th Berlin Biennial for Contemporary Art.
He has published many exhibition catalogues and monographs and written for international magazines such as 032c and Frieze. In 2015, he received the AICA award for Belgium's best exhibition for Lili Dujourie: Folds in time.
12:00
Gerhard Richter: Doubt
‘He disturbed my sense of what art should be.’ — Robert Storr on Gerhard Richter
15:48
Gerhard Richter: Drawings
‘The drawings are traces of a life, creating territories in relation to limits and potentials. Communications transmitted to whoever will regard them.’ — Prof. Michael Newman
1:19
1 Minute 1 Work: Gerhard Richter, Ema (Nude on a Staircase), 1966
Writer Robert Storr examines Gerhard Richter’s ‘dissenting’ painting ‘Ema (Nude on a Staircase)’.
12:00
‘He disturbed my sense of what art should be.’ — Robert Storr on Gerhard Richter
15:48
‘The drawings are traces of a life, creating territories in relation to limits and potentials. Communications transmitted to whoever will regard them.’ — Prof. Michael Newman
1:19
Writer Robert Storr examines Gerhard Richter’s ‘dissenting’ painting ‘Ema (Nude on a Staircase)’.
1:14
Learn about Richter’s ardent commitment to Titian’s canvas — and the impossibility of such a painting for our times — with writer Robert Storr.